Chapter
Digital Version
Download | Copy/paste | Printing
The sound to be heard becomes the sound to be listened to.
P. 101-105
-
Information
ISBN: 9788870969665
-
In the same volume
- Introduction
- Like a cake made from five ingredients : the Art Ensemble of Chicago's social and musical practices
- The use of improvisation in Rome in the 1960s and 1970s : motivations, languages and the relationship with context
- Roma-Firenze 1965 : parallel debuts, audio documents and some thoughts on the experimental frame of the launch of Gruppo di Improvvisazione Nuova Consonanza
- Cornelius Cardew in Rome : the experience of a discordant voice
- Music, language, crisis : Mario Bertoncini, Walter Branchi and the piano
- Before the driveless car, there was improvisation : some fleeting thoughts on 50 years of making unpopular music
- Why is improvisation philosophically so appealing? : some modest and incomplete suggestions
- The sound to be heard becomes the sound to be listened to.
- Enacting new consonances : from within the activity of Gruppo di Improvvisazione Nuova Consonanza
- Presence and immanence : improvisation between liberation and the new.
- Composing as a dialogue
- Performing in empathy : collective musical improvisation of Southeast Asia
- Some introductory words
- Author song? : the particular case of Fabrizio De André's Via del campo
- Heavy metal music : where improvisation fails
- Notes on film music and the improvisation issue
- Group improvisation in Italy today : an imaginary concert series
- Mechanisms in free improvisation : creativity and error
- The GINC's music in the light of audiotactile theory
- Larry Austin, Franco Evangelisti and the GINC through the papers in the Evangelisti Archive
- Relations and interaction between the Association and the Improvisation Group : overview and focus on the years of Evangelisti's presidency (1972-78/79)
- The magical perspectives : Giacinto Scelsi and collective vocal improvisations in Rome
- Giacinto Scelsi improviser : building a performance practice in dialogue with the complexities of his creative routine
- Improvisation and determination in Elohim by Giacinto Scelsi
